Calligraphy is a high-level art with rules. Calligraphy includes brush calligraphy, hard-pen calligraphy, etc. Many famous sayings and aphorisms are used by people to practice brush calligraphy. The following are the content of famous and aphoristic brush calligraphy that I have shared with you. I hope it will be helpful to you!

Famous aphorisms about brush calligraphy

1) To write like a human being, you must have muscles, bones, flesh and bones. The blood is thick and the bones are old, the muscles are hidden in the flesh, and the posture is strange and elegant, which can be said to be beautiful. Modern times. Kang Youwei's "Guang Yi Zhou Shuang Ji"

2) The writing is like a human being, but the muscles, bones, flesh and blood, the spirit and energy channels, eight are prepared and then it can be a human being, and the ear of a walking corpse. Qing Dynasty. Wang Shu's "Lun Shu Teng Yu"

3) A book must have spirit, energy, bones, blood, and flesh. The five elements are all in one, and it does not become a book. Northern Song Dynasty. Su Shi's "Lun Shu"

4) When starting to learn, it is advisable to start with the muscles and bones. If the muscles and bones are not upright, the flesh will not be attached. "Lun Shu" by Xu Hao of the Tang Dynasty

5) The God of Wind has flesh in his bones. Those who are old and vigorous have bones in their flesh. Those who are determined to visit the pond should use their discerning eyes to distinguish them. Qing Dynasty. Zhu Hegen's "Linchi Xinjie"

6) Firstly, the bone body is restored, and the spirit is restored. It has skin and blood, strength and tendons... Threads come and go, with clear veins. "Details of Calligraphy"

7) The bones are already there, but the moisture is added to them. Tang Dynasty. Sun Guoting's "Shu Pu"

8) Anyone who writes a book, no matter what the style, must have muscles, bones, blood and flesh. The muscles are what the sharp edge does, the bones are what the hair does, and the blood is what the water does. For, the flesh is what the ink does, the edge is the emotion of the pen, and the water is the marrow of the ink. Qing Dynasty. Bao Shichen's "An Wu Lun Shu"

9) Use the muscles and bones to establish the shape and embellish it with the expression. Tang Zhang Huaiguan's "On Character"

10) The bones of a character are the bones at the lower end of the big finger; the tendons of a character are the edges of the brush; the flesh of the character is the hair of the brush. Words are born from ink, and ink is born from water. Water is the blood of words. Yuan Dynasty. Chen Yizeng's "Essentials of Hanlin"

11) People are very good at writing, and it has thousands of shapes, but it is just called neutralization, fattening, and thinning. If the calligraphy is written, it should be shortened and measured, light and heavy should be balanced, yin and yang should be appropriate, and hardness and softness complement each other. Ming Dynasty. Xiang Mu's "The Elegant Words of Calligraphy"

12) Fat characters must have bones, thin characters must have flesh... Northern Song Dynasty. Huang Tingjian

13) The bones and tendons are established, and the tendons are attached to the bones and linger. The bones are shortened, and the tendons are fat and thin. The two are not separated from each other, so their functions are divided.

14) Muscles and bones are not born from the pen, but the pen can increase or decrease it; flesh and blood cannot be born from the ink, but the ink can increase or decrease it.

15) The flesh is tender and plump, and the tendons are dark and moist. If you are plump, you will be more charming, and if you are moist, you will be more attractive. Qing Dynasty. Da Chongguang's "Book Raft"

16) A horse with more tendons and less meat is considered to be the top, and a horse with more meat and less tendons is considered to be the bottom. The same is true for books. Tang Dynasty. Zhang Huaiguan's "Essay on Medicine and Stone"

17) The book has muscles, bones, flesh and blood. The predecessors have already prepared the theory, but what more can be said? It is divided into four parts, and when combined, it becomes one. To put it in detail, the tendons come out of the arms and wrists, and the arms and wrists must be rotated, and the tendons will grow when they are rotated; the bones come out of the fingers, and if the fingertips are not solid, it will be difficult to form the bones; blood is ink, and the ink must be adjusted; flesh is the brush hair, and the pen is Virtual, round and healthy. Blood can be beautiful and beautiful, and the posture can be seen from the inside; however, flesh and blood are born from the muscles and bones, and if the muscles and bones are not upright, the flesh and blood cannot be proud of itself. Therefore, the book puts bones and muscles first. Qing Dynasty. Zhu Lvzhen's "The Essentials of Learning Calligraphy"

18) Therefore, the initial learning is rough but not the essence; if it is too slow, it will be stagnant and without tendons; if it is too fast, it will be sick and without bones; it will damage the sides of the hair. If the tube is straight, it will be slow and meaty; if it is straight, it will be dry and exposed. Qing Dynasty. Feng Wu's "Zhiyi"

19) Today, when I look at the ancient books, I don't learn their form, but I seek their strength, and the form comes from itself. Everything I do is done with intention first, so the result can be achieved. Tang Dynasty. Li Shimin's "Brushwork Techniques"

20) Softness makes the posture graceful, rigidity makes the execution beautiful... Tang Dynasty. Zhang Huaiguan's "Essay on Medicine and Stone"

Selected famous sayings and aphorisms in brush calligraphy

1) When the ancients wrote a book, they would make it round to the bottom when they started writing, and they would get to the bottom when they started writing. into a kind of rules. "Lanting" uses circles, "Shengjiao" uses squares, and the two stickers are models of calligraphy for generations. The so-called rules of square and round are the best.

2) In terms of turning and bunching, the inside is square and the outside is round; in terms of pen quality, the bones are square and the flesh is round. This is a certain principle. Qing. Zhou Xinglian's "Linchi Guanjian"

3) If it is soft and moist, both fat and thin will be round, while if it is hard and dry, both long and short will be flat. Therefore, the curve and straightness are based on the temperament and reach the shape and quality; the roundness and flatness are based on the shape and quality and originate from the temperament. Qing Dynasty. Bao Shichen's "Yizhou Shuangbian"

4) The round brush is used to lift, and then used to break out. Fangbi used the word "du" instead, and used the deed to express it. Use Jiao for round pens, and Fan for square pens. If a round pen is not Jiao, it will be weak, and if a square pen is not Fan, it will be sluggish. Modern times. Kang Youwei's "Guang Yizhou Double Collection"

5) The tip of the pen is as sharp as a falling edge, and there is nothing like a sharp edge. The mood is vivid, and it is as refreshing as a god. It is a word, and it must be counted and expressed. enter. "On Calligraphy" by Wang Xizhi of Jin Dynasty

6) To write a book, you must be able to pick up the pen, but you cannot trust the pen. If the letter pen is used, the waves and drawings will be weak. When the pen is picked up, there will be mastery in every turn and bundle. The two characters "Zhuan" and "Xu" are the calligrapher's secret. Ming Dynasty. Dong Qichang's "Essays on Painting a Zen Room"

7) There are divisions and urgency at the beginning, virtuality and reality at the end, smoothness and reversal, reverses and straightness, and long and near straightness. Qing Dynasty. Liu Xizai's "Art Summary"

8) A good sword will bend when pressed, and the strength will be straight as before when it is thrown away, and the world will return its nature. The same is true for the tip of the pen. If after one introduction, it is no longer straight, how can it still be as expected? Therefore, if it is long but not strong, it is better not to be long; if it is strong but not round, it is better to not be strong. Cover paper, pen and ink are all aided by calligraphy. Song Dynasty. Jiang Kui's "Xu Shu Pu"

9) The pen must be composed, and if it is composed, the pen will not float; it must also be ethereal, and if it is ethereal, the pen will not be rigid. The use of pen to explain this will have the effect of gradually changing one's perspective.

10) The skillful and clumsy pens must be used in conjunction with each other. Skillful writing will lead to flexibility, and clumsy writing will make fun of the past. If you combine them with each other, you will not suffer from turbidity when writing. Qing Dynasty. Qin Zuyong's "Tongyin Painting Secrets"

11) When the ancients discussed the use of brushes, there were only two words: "disease" and "astringency". Astringency does not mean delay, and quickness does not mean speed. Slow speed is regarded as quick and astringent, but there is no such thing as quick speed.

12) A book uses pen as its substance and ink as its text. Qing Dynasty. Liu Xizai's "Art Summary"

13) There are two methods of calligraphy: one is disease, and the other is astringency. The two methods of quickness and astringency make the book wonderful. Eastern Han Dynasty. Cai Yong's "Shishi Divinely Instructed Writing Style"

14) The pen is expensive and left, and the writing is slow and slow. This is the way of monarchs and ministers. "Preface to Pulling the Stirrups" by Lin Yun of the Tang Dynasty

15) If you write too quickly, there will be no pauses; if you use the pen too late, you will lose strength. Qing Dynasty. Liang Xian's "Xue Shu Lun"

16) The author is familiar with the theory of astringent writing, but I don't know how to get astringent. But when the pen is ready to move, if there is something to reject, and it tries its best to fight against it, it will become astringent unexpectedly and it will become astringent on its own. Qing Dynasty. Liu Xizai's "On Using the Brush"

17) The pen is firm and never sluggish, and the ink is thick and deep. Tang Dynasty. Zhang Yanyuan's "Book of Dharma"

18) Xu Gong said: When I write, I care about the stability of the brush, and when I use the brush, I care about lightness. If it is not astringent, the dangerous strength will arise out of nowhere; if it is too fluid, it will become slippery; if it is slippery, it will be common. Tang Han Fangming's "Teaching the Pen"

19) Shanzhou said: The pen should be soft, so that it will be soft; the tip of the pen should be long, so that it will be agile; the ink should be full, so that it will be plump; the pen should be written quickly, quickly Then the idea comes out. Qing Dynasty. Liang Tongshu's "Pin Luo Yan Lun Shu"

20) The writing style is too revealing, which can easily damage the rhyme.

Famous aphorisms about brush calligraphy

1) To use the brush strokes, you need to go against the trend and not drag it along, which means it will be lifeless and childish. Qing Dynasty. Qin Zuyong's "Tongyin Painting Secrets"

2) People only know that the pen and ink have charm, but they don't know that the charm is all in the hands. Qing Dynasty. Da Chongguang's "Hua Quan"

3) There are those who have mastered the technique of brushwork but cannot use ink, and there is no one who has mastered the technique of ink without using the brush. Qing Dynasty. Bao Shichen's "Yizhou Double Collection"

4) The ink does not come out from outside, which makes him the best calligrapher. Qing Dynasty. Zhu Hegen's "Linchi Xinjie"

5) Using the ink method, the water is scattered but the ink is there, the traces are floating but the edges are condensed, as if they are natural. Tang Lu Xie's "Linchi Jue"

6) However, painting and calligraphy are originated from the brush and developed from ink, and the ink method is a key to the art of calligraphy. If the pen is real, the ink will sink; if the pen is floating, the ink will float.

Qing Dynasty. Bao Shichen's "Yizhou Shuangbian"

7) Grinding the ink will make it ripe, and using it to break the water will make it live; dipping the pen will make it moist, and using it to make it turbid. Black is round and white is square, the frame is wide and the silk is tight (black is fat, thin, round and zigzag, white is square and rectangular with beveled corners). Ancient and modern calligraphers have the same round and beautiful shape, but the center is strong and straight, even and smooth, and then round, and the round shape is more beautiful. Qing Dynasty. Da Chongguang's "Shu Raft"

8) The ink must be thick and the pen must be strong. Use strong ink and strong ink, so that the writing is powerful and the charm is floating. Qing Dynasty. Wang Shu's "Lun Shu Teng Yu"

9) A thick pen with thick ink is called vigorous, and a thin pen with light ink is called Gaoyi. Qing Dynasty. Wang Houqi's "Rain Window Essay"

10) If the ink is too light, it will hurt the spirit; if it is too thick, it will stagnate the edge; if it is fat, it will be dull; if it is thin, it will expose the bones; do not hurt the weak, and do not be angry. strange. Qing Dynasty. Feng Wu's "The True Story of Calligraphy"

11) Whenever you wipe the ink, you want it to be dry, but it should not be too dry. When doing cursive work, dryness and moistness will be mixed. If the ink is thick, the pen will be stagnant, and if it is dry, the pen will be dry. This is also something we must not know. The pen is long, strong and round. If it is long, it contains ink for movement, if it is strong, it is strong and powerful, and if it is round, it is beautiful. Song Dynasty. Jiang Kui's "Xu Shu Pu"

12) The ink must be thick or light, dry or wet, and the ink will naturally flow out in one breath. Qing Dynasty. Qin Zuyong's "Tongyin Painting Secrets"

13) Use ink to make it moist and not dry, especially avoid making it fat, as fat will lead to great evil. Ming Dynasty. Dong Qichang's "Essays on Painting a Zen Room"

14) The use of the brush is in horizontal painting, and the three-dimensionality of characters is in vertical painting. The stretch of Qi is in the body, the fusion of tendons is in twisting, the continuity of veins is in silk pulling, the harmony of bones and flesh is in fullness, the expression of interest is in hook points, the transparency of light is in distribution, the denseness between lines is in flow, and the situation is in Misplaced in Yi Zheng. Qing Dynasty. Da Chongguang's "Shu Raft"

15) At the beginning of writing, there are those who take the lead and those who break the lead. The style of one character is determined at the beginning of writing. When writing calligraphy, the first character is mostly a folded edge, and the second and third characters are mostly linked to the upper stroke. If there is a zigzag on the right side of a character, it should be on the left side. There are also flat-rising ones, like official calligraphy paintings; those with hidden edges, like seal script drawings. In particular, it is necessary to mix and match a lot of spirit, and to hide kindness and subtlety. It is wonderful to have both. Song Dynasty. Jiang Kui's "Xu Shu Pu"

16) There are yin and yang. If it is horizontal, the top is yang and the bottom is yin; vertically, the left side is yang and the right side is yin. Only those with even hair can have both yin and yang. Arrive, otherwise it’s just Duyang. Qing Dynasty. Liu Xizai's "Art Summary"

17) The strokes of the horizontal strokes are raised, the strokes of the vertical strokes are bent down, the strokes of the strokes are heavy, the strokes of the folds are light, the strokes of the folds are light, and the strokes are wrapped. The hair stroke is round, the point hair stroke is frustrated, the hook stroke is sharp, the stroke stroke is exposed, the stroke stroke is hidden, the distribution stroke is wide, and the structural stroke is tight. Qing Dynasty. Da Chongguang's "Shu Raft"

18) Generally speaking, the pen is used slowly and urgently, with or without sharp edges, some to carry over the upper characters, and some to pull the lower ones, sometimes slow and slow, sometimes back and forth. receive. Slowly to imitate the ancient, hasty to surprise; there is an edge to shine its spirit, but there is no edge to contain its scent. Horizontal, oblique, curved and straight, hooks and loops, all are based on momentum. However, if you don't want to be together, it will be close to the vulgarity. Don’t make horizontal drawings too long, otherwise the transition will be delayed; don’t make vertical drawings too long, as too many drawings will lead to mental delusion. When the intention is exhausted, use the hanging needle. If the intention is not exhausted, use the hanging needle to create the brushwork. It is better to use the hanging needle to expose the ear. Song Dynasty. Jiang Kui's "Sushupu"

19) If the horizontal direction cannot be flat, the vertical direction cannot be straight, the wrist cannot be stretched, the eyes cannot focus, the distribution will not be perfect; the distribution will not be perfect, the rules will not be perfect; rules If there is a loss, it is difficult to write down the law. Qing Dynasty. Da Chongguang's "Book Raft"

20) Writing words is like dealing with guests. The hall is full of guests, taking care of them from left to right. The guests don't notice the silence, and the host doesn't let go. When writing a book, one cannot be careful in every stroke. The strokes have their ups and downs, pauses, and slippages, as if one has lost care of a guest. The cloud pen has been delivered, that is, this matter. Qing Dynasty. Zhu Hegen's "Linchi Xinjie"

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